Black & white illus. on recto, details on verso. Amsterdam: Seriaal, 1971.

Rare announcement for an early Sol LeWitt (1928-2007) multiple, published by Wies Smals’s Seriaal gallery. The multiple was made of white baked enamel (edition of 25 copies + 5 artist's proofs). The illustration reproduces the artist’s sketch design of the sculptural multiple. Near fine. More

Printed on recto, mailing address on verso, mailed. New York: John Weber Gallery, 1980.

Scarce LeWitt ephemera from John Weber Gallery. Presumably this was an exhibition of original photographs which eventually served as the basis for two of LeWitt's sought-after photobooks which came out the same year: Autobiography (1980) and Sunrise and Sunset at Praiano (1980).

Near fine example; faint crease. Mailed to photographer Eve Sonneman. More

Printed on one side. Card. Los Angeles: Margo Leavin Gallery, 1979.

Announcement card for LeWitt’s 1979 show with Margo Leavin in Los Angeles. In fine condition. More

Printed on one side. Oblong card. Paris: Galerie Yvon Lambert, 1974.

Invitation card for LeWitt’s 1974 show with Yvon Lambert. In fine condition.

❧ S. Richard, Unconcealed: The International Network of Conceptual Artists 1967-77, Dealers, Exhibitions and Public Collections (2010), p. 371 (recorded as “Incomplete Open Cubes” and taking place in March). More

Printed on one side. Card. N.p.: Max Protetch, [1974].

Invitation card for LeWitt’s first solo show with Protetch. Earlier that year, the artist was included in the gallery’s group exhibition “Political Art,” with Andre, Buren, Morris, and Rockburne. The artist’s book/exhibition catalogue The Location of Eight Points was made for the present show, the first catalogue published by the gallery.

In fine condition.

❧ Max Protetch Gallery: 1969-2009 (Radius Books: 2023), p. 54. More

Printed on both sides. Square card, mailed. London: Lisson Gallery, 1979.

Invitation to LeWitt’s 1979 Lisson exhibition. In fine condition. Mailed to collector Udo Brandhorst (b. 1939), founder of the Museum Brandhorst.

|| Not in Sol LeWitt: Libros, El concepto como arte (2014). More

Printed on both sides. Card, mailed. London: Lisson Gallery, 1977.

Invitation to LeWitt’s 1977 exhibition with Lisson. In fine condition. Mailed to Marc de Cock of Ghent.

|| Not in Sol LeWitt: Libros, El concepto como arte (2014).

An installation photograph of the exhibition can be viewed on Lisson’s website. More

Black & white illus. Printed on both sides. Oversize square card. Zurich: Galerie Bischofberger, 1968.

The illustrated announcement for LeWitt’s second European solo show, preceded only by his presentation in Düsseldorf with Konrad Fischer the previous month (6 January-3 February). The artist had solo exhibitions with Bruno Bischofberger in 1968 and 1969. For the latter show, they co-published LeWitt’s second “autonomous” artist’s book, 49 three-part variations… Near fine. More

Two illus. Large pictorial square card. New York: Dwan Gallery, 1969.

A beautifully produced extravagant invitation from Dwan Gallery for LeWitt’s 1969 exhibition. Two of the artist’s drawings are reproduced on both sides. John Perreault writing about the show in the Village Voice observed: “LeWitt changes our conception of what a drawing is… ‘wall drawings’ are tough and delicate simultaneously.” In excellent condition.

|| James Meyer, ed., Dwan Gallery: Los Angeles to New York, 1959-1971 (2016), p. 359 (pictured).

Not in Sol LeWitt: Libros, El concepto como arte (2014). More

Printed on one side. Oblong card. Rome: Ugo Ferranti, 1987.

Invitation to LeWitt’s 1987 show with Ugo Ferranti. Fine. More

Printed on one side. Card. New York: John Weber Gallery, 1971.

Announcement card for LeWitt’s first solo show at John Weber’s gallery. In fine condition.

|| Not in Sol LeWitt: Libros, El concepto como arte (2014). More

Black & white illus. on recto, details on verso. Pictorial postcard. Düsseldorf: Konrad Fischer, 1969.

Postcard invitation to LeWitt’s second presentation with Fischer. Their first collaboration had taken place 6 January-3 February 1968 – the gallerist’s fourth exhibition and the artist’s debut show in Europe. LeWitt’s preliminary sketch for one of the two wall drawings shown, A square divided horizontally and vertically into four equal parts, each with a different direction of lines (1969) is reproduced on the recto.

“Konrad Fischer most likely saw Sol LeWitt’s work for the first time in 1967 in the exhibition Serielle Formationen in Frankfurt... More